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Other Minds Festival: OM 6: Concert 1-2 and Artist Forums

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Other Minds Festival: OM 6: Concert 1-2 and Artist Forums


Published March 16, 2000


The 6th Other Minds Festival was held March 16-18, 2000 at the Theatre Artaud, in San Francisco.

Concert 1:
Guest Artistic Director Carl Stone begins the proceedings with some introductory remarks and then introduces all the featured composers as they gather on stage for a group photo. The first concert then begins with:

The Three Strange Angels, Peter Garland

Greetings [Lyrics (Arabic): Ismail Hasan], Hamza El Din

Escalay (Water Wheel), Hamza El Din

Memory Pieces, David Lang

Solo Improvisations, Leroy Jenkins

Flying Sparks and Heavy Machinery, Annie Gosfield
[Commissioned by Other Minds and underwritten by the American Composers Forum with funds provided by the Jerome Foundation]

Performers:
William Winant, bass drum & bullroarer (Three)
Peter Garland, piano (Three)
Hamza el Din, oud and vocals (Greetings ; Escalay)
Aki Takahashi, piano (Memory)
Leroy Jenkins, violin and viola (Solo)
The Onyx Quartet: (Flying)
Anna Presler, violin; (Flying)
Phyllis Kamrin, violin; (Flying)
Kurt Rohde, viola; (Flying)
Leighton Fong, cello (Flying)
Reddrum: (Flying)
Justin DeHart, percussion (Flying)
Mike McCurdy, percussion (Flying)
Michael Crain, percussion (Flying)
Daniel Kennedy, director (Flying)

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Concert 2:
Guest Artistic Director Carl Stone begins the proceedings with some introductory remarks. The second concert then begins with:

String Quartet No. 3,"There must be some way out of here", Hyo-shin Na

Rain Study, Hyo-shin Na
[Much of the material for “Rain Study” has its origin in "Sanyombul," a Korean folk song.]

Bright Angel - Hermetic Bird, Peter Garland
[Was a commission from Aki Takahashi, in memory of her husband, Kuniharu Akiyama.]


Blue Yellow River, Hyo-shin Na
[This premiere of “Blue Yellow River” was made possible in part by Nora Norden and a grant from the Zellerbach Family Fund.]

Melody, Christian Wolff

Burdocks, Christian Wolff

Performers: The Onyx Quartet: (String)
Anna Presler, violin (String)
Phyllis Kamrin, violin (String)
Kurt Rohde, viola (String)
Leighton Fong, cello (String)
Thomas Schultz, piano (Rain)
Ji Young Yi, kayageum (Blue)
Joan Jeanrenaud, cello (Blue ; Burdocks)
Richard Worn, double bass (Blue)
Aki Takahashi, piano (Bright)
Christian Wolff, melodica ; and piano (Melody ; Burdocks)
The Wolff Band: (Burdocks)
Fred Frith, guitar (Burdocks)
Miya Masaoka, koto (Burdocks)
Gordon Mumma, French horn (Burdocks)
Bob Ostertag, sampler (Burdocks)
William Winant, percussion (Burdocks)

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The first of two Artist Forums held on March 18, 2000 as part of the 6th Other Minds Festival in San Francisco. After a brief introduction by Guest Artistic Director, Carl Stone, pianist Sarah Cahill moderates a panel discussion that takes as its topic the various stringed instruments featured during this year’s series of concerts. Hyo-shin Na and Ji Young Yi discuss the Korean kayagŭm, Hamza El Din describes the Middle Eastern oud, Miya Masaoka talks about the Japanese koto, and Joan Jeanrenaud talks about the European cello. With obvious pride, each musician provides a brief description and history of their particular instrument. Hamza El Din mentions that the oud is perhaps the original plucked string instrument of Northern Africa, and both Ji Young Yi and Miya Masaoka refer to the traditional role of both the koto and kayagŭm in their country’s religion and court life. Ji Young Yi then gives a brief demonstration of the various techniques she uses when playing the kayagŭm. The discussion then turns to the relationship between various Asian string instruments, while Jeanrenaud traces the evolution of the cello, including her recent foray into electro-acoustic cellos. The musicians then discuss some of the strangest things that have been done with their instruments, including amplifying of otherwise combining them with electronics. The session is then opened up to question from the audience which included inquires about the age of the particular instruments that they use when performing; the variety of playing techniques including the incorporation of overtones; and the differences between solo and ensemble performances. The session ends with a discussion of future of stringed instruments including the role of the guitar and electric guitar.

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The second of two Artist Forums held on March 18, 2000 as part of the 6th Other Minds Festival in San Francisco. After a brief introduction by Guest Artistic Director, Carl Stone, professor Herman Gray moderates a panel discussion that takes as its topic "Cultural Identity and Music in the Post-MODEM World.” DJ Spooky talks about remix culture and how it reflects greater changes in culture in general with the advent of a true global community and advances in science such as DNA splicing. Annie Gosfield then talks about her interest in ambient industrial sounds which she has sampled in her own compositions. Eddie Def relates how he has always been interested in sampling records and manipulating them in a wide variety of ways, largely for reasons of personal satisfaction. He makes a distinction between turntablism, which he sees as a largely performance art, and sample manipulation, which allows for more individual creativity. Scanner describes how he took his name from the radio scanner, from which he has derived many of the samples he has used in his records.
Despite Eddie Def’s insistence that cultural identity is not very important and people simply like music that they like, Herman Gray pushes back, pointing out that for many composers the music of one’s youth often has a significant influence on their later efforts. DJ Spooky offers some support for this thesis, but also stresses that recent hybridization of cultural influences, mediated by global communication networks, has created for many an identity no longer tied to an individual’s location or native culture. Gray picks up on this point and inquires whether technological advances lead to issues of access, power, and the digital divide. The discussion is then opened up to questions from the audience, the first of which suggests that there might be a gender barrier to using technology in music, a suggestion that the panel takes umbrage with, and leads to a lively give and take with the audience. Other audience members ask about performance practices for live electronic music; issues surrounding the sampling of traditional ethnic music; whether technology is outpacing creativity, and copyright law, among others.


Run time 432 min
Producer Other Minds
Audio/Visual sound, color
Language English
Contact Information For more detailed program information and to browse other material in the Other Minds Archive visit: http://radiOM.org

Credits

Digitized by the California Audiovisual Preservation Project (CAVPP) supported in part by the U.S. Institute of Museum and Library Services under the provisions of the Library Services and Technology Act, administered in California by the State Librarian.

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